Sony took over the Colosseum at Caesars Palace on Wednesday evening during day three of CinemaCon, the yearly gathering of movie theater owners and candy pushers.

There was no glitz. There was no glamour. There were no Hollywood stars. Just extended scenes of Brad Pitt driving a tank into Nazi Germany in “Fury,” Denzel Washington killing a dude with a corkscrew in “The Equalizer,” Cameron Diaz and Jason Segel getting freaky in the comedy “Sex Tape,” something going bump in the night in the horror tale “Deliver Us From Evil” and Seth Rogen and James Franco trying to assassinate Kim Jong Un in “The Interview.”

There were looks at the sequels “22 Jump Street” and “Think Like a Man, Too,” as well as “When the Game Stands Tall,” which feels like all five seasons of “Friday Night Lights” condensed into two hours, and most of the “Hard Knock Life” number from the remake of “Annie.”

But all that just set the stage for a full 35 minutes of footage from “The Amazing Spider-Man 2.”

Warning, mild spoilers follow.

On his way to graduation, Peter Parker/Spidey (Andrew Garfield) chases a truck of Oscorp plutonium, stolen by Aleksei Sytsevich (Paul Giamatti), through the streets of Manhattan, rescues Oscorp employee Max Dillon (Jamie Foxx) from certain death and stops long enough to whistle his theme song, which also happens to be his ringtone.

We also find out what happened to Peter’s parents (Campbell Scott, Embeth Davidtz) the night they ran away from their lives and left young Peter with Aunt May (Sally Field).

In another scene, Peter reconnects with Gwen Stacy (Emma Stone) after a year apart and learns she’s considering moving to England. Then he’s pulled away by the emergence of Electro (Foxx), whose Times Square havoc-wreaking is broadcast on every screen on every building around him.

In the third and final scene, Harry Osborn (Dane DeHaan) has been kicked out of Oscorp and tries to forge a bond with Electro. Curiously, the pulsing, glowing blue villain, who’s little more than pure energy at this point, has developed some sort of indestructible boxer-briefs, a la The Hulk and his purple jorts, in order to keep the whole thing PG-13.

From a technical standpoint, the footage looks very good, albeit with a distractingly slow-motion “Matrix” style to much of it.

Something about it, though, just left me cold.

Maybe I still miss Sam Raimi’s version. Maybe there’s just been too much “Spider-Man” lately. This is, after all, the fifth movie in 12 years. And additional sequels have been announced for 2016 and 2018.

On the way out of the theater, I was trying to think whether those 35 minutes felt better than “The Amazing Spider-Man,” and it took me a solid five minutes of deep concentration to remember anything at all about “The Amazing Spider-Man.”

This one may not turn out to be better, but it looks to be at least somewhat more memorable.